By engaging African ritualistic elements in order to invoke themes of historic healing, the artist demonstrates the measure with which what is perpetual about the moral putrefaction that characterizes society is persevered by what is ambiguous between the play of history and time, and between historic moments and contemporary examination.
Composition of the Eye is at a certain level a retrospective exhibition, it is also about the two artist careers that has spanned over fifty years combined. It is also about the merging of their discourses, this way both their aesthetic influences and impact can be deemed for their respective achievements. (…) Both their repertoire is or was informed by the techniques that informed Black artists during the apartheid era.
Themba Tsotsi writes about the work of the South-African artist Kemang Wa Lehulere. Starting point are two exhibitions of Wa Lehulere at Stevenson Gallery in Cape Town: Here I am, a concrete man throwing himself into abstraction (2017) and To whom it may concern (2015).
Blank Projects is an institution that I been aware of for a number of years now, and the eclectic and experimental nature of the artist they show has been consistent and imbued with a measure of a collective aesthetic. Blank Projects is a gallery that extends African artists beyond what is political, into the realm of aesthetic and the theoretical.
At the crux of Khaya Sineyile’s work is an artist who is cultivating an alternative consciousness regarding how artists from his background are perceived, he is an artist seeking to alter the manner in which their works are received. His work is barren of that apologetic sentiment, where the social context of the township is perpetuated to be the quintessential context for cultural, historic and contemporary passivity in relation to the powers that be.